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Constance Smith

For scholars of African history, anthropology offers a number of valuable and invigorating methodological avenues, from engaging directly in ethnographic fieldwork to analyzing ...
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For scholars of African history, anthropology offers a number of valuable and invigorating methodological avenues, from engaging directly in ethnographic fieldwork to analyzing anthropological data compiled by others. Given the asymmetries of written documents and the biases of archival material for Africa, anthropological methods and sources offer a different type of access to those who, for various reasons, tend not to appear in other forms of documentary record. The materials of past ethnographic research—texts and material objects, produced and collected by anthropologists and their assistants as well as by missionaries, government officials, travelers, and others—constitute one of the largest categories of written source material. However, the contexts in which such research was conducted can present certain challenges when using these materials as sources. For example, the complex entanglements between colonial governance and the making of anthropological knowledge make it imperative for historians to be aware of the discipline’s intellectual history and how its ways of seeing and ordering have shaped portrayals of Africa’s diverse cultures.

Methodologically, historians are also experimenting with field methods that draw heavily on ethnographic techniques. The emergence of historical ethnography has developed a rich, syncretic approach, in which communities’ own relationships with, and understandings of, the past are brought to the fore. Although ethnography is known for its immersive and long-term fieldwork, elements of the technique can also be incorporated into other historical methods. This is in part a matter of approach, rather than of different source material. For example, engaging ethnographically with archives can offer different insights into issues of governance and the production of knowledge.

Chris S. Duvall

Cannabis and tobacco have longstanding roles in African societies. Despite botanical and pharmacological dissimilarities, it is worthwhile to consider tobacco and cannabis together because ...
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Cannabis and tobacco have longstanding roles in African societies. Despite botanical and pharmacological dissimilarities, it is worthwhile to consider tobacco and cannabis together because they have been for centuries the most commonly and widely smoked drug plants. Cannabis, the source of marijuana and hashish, was introduced to eastern Africa from southern Asia, and dispersed widely within Africa mostly after 1500. In sub-Saharan Africa, cannabis was taken into ethnobotanies that included pipe smoking, a practice invented in Africa; in Asia, it had been consumed orally. Smoking significantly changes the drug pharmacologically, and the African innovation of smoking cannabis initiated the now-global practice. Africans developed diverse cultures of cannabis use, including Central African practices that circulated widely in the Atlantic world via slave trading. Tobacco was introduced to Africa from the Americas in the late 1500s. It gained rapid, widespread popularity, and Africans developed distinctive modes of tobacco production and use. Primary sources on these plants are predominantly from European observers, which limits historical knowledge because Europeans strongly favored tobacco and were mostly ignorant or disdainful of African cannabis uses. Both plants have for centuries been important subsistence crops. Tobacco was traded across the continent beginning in the 1600s; cannabis was less valuable but widely exchanged by the same century, and probably earlier. Both plants became cash crops under colonial regimes. Tobacco helped sustain mercantilist and slave-trade economies, became a focus of colonial and postcolonial economic development efforts, and remains economically important. Cannabis was outlawed across most of the continent by 1920. Africans resisted its prohibition, and cannabis production remains economically significant despite its continued illegality.

Gabrielle Lynch

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of African History. Please check back later for the full article.
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This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of African History. Please check back later for the full article.

Among today’s Africanist scholars, the common understanding is that pre-colonial African ethnic identities were relatively fluid, permeable, overlapping, and complex; and that the more bounded and politically pertinent ethnic identities of today are (at least to a certain extent) the product of a colonial order of delineated control and dual processes of ethnic invention and imagination. Nevertheless, although ethnic identities became more bounded during the colonial period, they did not become fixed or unchanging. Instead, community members still debate and reinterpret ethnic brands, content, allies, and cousins through four distinct but potentially interrelated avenues of ethnic negotiation and renegotiation: namely ethnic migration, assertions of difference, ethnic amalgamation, and ethnic branding or positioning. This reality ensures that ethnic narratives can adapt and respond to an ever-changing world, and, as a result, that ethnic identities remain relevant to ordinary people and useful to political elites. Evolving narratives regarding shared pasts and intertwined futures help legitimize political claims based on past injustice or desert and/or historically informed fears or hopes regarding future socio-economic and political dynamics.

James Genova

From the period of the “Scramble for Africa” in the 1880s to the era of decolonization that began in the 1950s, culture and media played essential roles in constructing images of the ...
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From the period of the “Scramble for Africa” in the 1880s to the era of decolonization that began in the 1950s, culture and media played essential roles in constructing images of the colonized subject as well as governing newly conquered empires. In the struggle for political independence, Africans used film, music, literature, journals, and newspapers to counter European ideas about African society as well as to provide the foundations for postcolonial national identities. With sovereignty largely realized across Africa in the 1960s and 1970s, the roles of culture and media were critical in forging the bonds of nationhood and solidifying the legitimacy of the new states. However, those official efforts increasingly clashed with the aspirations of cultural activists, who desired a more thorough transformation of their societies in order to transcend the colonial legacy and construct progressive communities. Media and culture became a forum for political conflict whereby governments increasingly restricted creativity and subsequently sought complete control of the means of cultural creation and diffusion. Both the aspirations of public officials and opposition activists suffered during a period of prolonged economic crisis in Africa, which began in the 1970s and stretched into the 1990s. The sinews of governance as well as the radical pretensions of culture workers were torn asunder as many parts of Africa suffered state collapse, civil war, famine, and epidemic diseases (including the HIV/AIDS and Ebola crises). The dawn of the new millennium coincided with the age of neoliberal globalization that, for many African countries, was synonymous with structural adjustment programs and oversight from such international lending institutions as the International Monetary Fund (IMF) and the World Bank. This often required the privatization of media across Africa and included the greater prominence of non-African media sources on radio, television, and the cinema throughout the continent. It also was reflected in a shift among African culture workers, who frequently centered on the impact of globalization on African societies in their work. Filmmakers, musicians, and writers often use their platforms to speak to the wider world beyond Africa about the place of African societies in the globalized world.

Christopher Conte

Natural and human histories intersect in Africa’s forested regions. Forests of several types cover the continent’s mountains, savannas, and river basins. Most current classifications ...
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Natural and human histories intersect in Africa’s forested regions. Forests of several types cover the continent’s mountains, savannas, and river basins. Most current classifications divide forest by physical structure. Open canopy forests occur in semi-arid regions of western, eastern, and southern Africa, while closed canopy rain forests with large emergent trees cover much of the Congo River basin, the upland forests of Rift Valley escarpments, and the volcanic mountains in eastern and Central Africa. Along the tropical coasts, mangrove forests hug the river estuaries. For much of human history, Africa’s forests have anchored foraging and agrarian societies. In the process of domesticating the landscape through agriculture, Africans modified forests in ways that ranged from large-scale deforestation to forest creation on savanna environments. A boom in forest commodities preceded European colonialism and then continued when foreign governments took formal possession of African territory in the late 19th century. In this context, states ascribed value to forest trees as commodities and so managed them as profitable agricultural crops. Colonial forestry separated people from forests physically and culturally. This fundamental shift in human–forest relations still resonates in postcolonial African countries under the guise of internationally funded forest conservation.

Renee Sylvain

Moringe ole Parkipuny addressed the United Nations Working Group on Indigenous Populations (UNWGIP) in 1989 and, for the first time, opened up discussion of the idea that certain groups of ...
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Moringe ole Parkipuny addressed the United Nations Working Group on Indigenous Populations (UNWGIP) in 1989 and, for the first time, opened up discussion of the idea that certain groups of hunter-gathers and pastoralists in Africa merited the status of indigenous peoples. Local activists and international organizations took up the cause in the following decades. Several international conferences resulted in new forms of activism, the reformulation of local identities, and a growing body of scholarship addressing African indigeneity. As NGOs built solidarity among relatively scattered groups of pastoralists and hunter-gatherers, often skeptical state governments initially resisted what they saw as demands for recognition of status and claims to “special rights.” Disagreements between state interests and newly organized indigenous groups were expressed at the United Nations during the process of adopting the Declaration on the Rights of Indigenous Peoples (UNDRIP); but as the idea of indigeneity evolved through such discussions, African governments gradually came on board. International activism and work done by the African Commission on Human and Peoples’ Rights play significant roles in convincing African states to accept the concept of “indigenous peoples.” The issue of developing a definition of “indigenous peoples” appropriate for Africa remains unsettled and continues to present challenges. Mobilization among marginalized groups on the African continent itself, however, has presented NGOs, activists, states, and courts with the opportunity, through well-publicized struggles and several landmark legal cases, to refine the category to better fit with African contexts.

Fred Morton

The South African interior, roughly equivalent to the Highveld on the southern continental plateau, was in the 19th century a stage of numerous players and groups, acting in concert and in ...
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The South African interior, roughly equivalent to the Highveld on the southern continental plateau, was in the 19th century a stage of numerous players and groups, acting in concert and in conflict with one another, as often dissolving as taking on board new members. The fortunes of Highveld inhabitants, occupiers, and passers-by fluctuated without periods of calm, and turned advantages to few. It was therefore not uncommon for the human flotsam and jetsam created by raiding, battles, and migrations, aggravated by drought and famine, to be subordinated by the survivors and forced to serve those with whom they had no prior allegiance or knowledge. Slavery in the interior was largely a by-product of staking out territory. Rather than generate slaves for sale in an external market, slavery on the Highveld was fed by the political impulse to aggregate followers and servants. An internal exchange emerged in some areas, and traders made a few transactions with coastal exporters, but the general pattern of enslavement was acquisition by raiding and distribution among raiders. The majority taken were youngsters and, to a lesser degree, women. As a rule, the menfolk were killed.

John McCall

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of African History. Please check back later for the full article.
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This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of African History. Please check back later for the full article.

Motion picture technology was developed at the dawn of the 20th century, just as the colonization of Africa was launched at the Berlin Conference of 1884–1885. The colonial administrations in West Africa used film as a means for conveying colonial culture to African subjects. For the British and French colonials, film was a means to control public opinion. Both British and French colonial administrations criminalized indigenous filmmaking for fear of the subversive potential of anti-colonial messages. When West African nations became independent in the late 20th century, these restrictions vanished, and Africans began to make films. This process played out differently in Francophone Africa than in Anglophone countries. France cultivated African filmmakers, sponsored training, and funded film projects. Talented and determined filmmakers in Anglophone Africa also struggled to produce celluloid films, but unlike their counterparts in former French colonies, they received little support from abroad. A significant number of excellent celluloid films were produced under this system, but largely in Francophone Africa. Though many of these filmmakers have gained global recognition, most remain virtually unknown in Africa outside the elite spaces of the FESPACO film festival and limited screenings at French embassies. Though West African filmmakers have produced an impressive body of high quality work, few on the continent know of Africa’s most famous films. This paradox of a continent with renowned filmmakers but no local film culture began to change in the 1990s, when aspiring artists in Nigeria and Ghana began to make inexpensive movies using video technology. Early works were edited on VCRs, but as digital video technology advanced, this process of informal video production quickly spread to other regions. The West African video movie industry has grown to become one of the most prominent, diverse, and dynamic expressions of a pan-African popular culture in Africa and throughout the diaspora.